Ardoise

Sur cette page : ardoise, ardoiserWordReference English-French Dictionary © 2025:Principales traductionsFrançaisAnglaisardoise nf (roche)slate n Beaucoup de toits sont recouverts en ardoise. Lots of roofs are covered in slate.ardoise nf (écritoire) (to write on: historical)slate n (plastic)mini whiteboard n Les enfants apprenaient souvent à écrire sur une ardoise. Children often learned to write on a slate.ardoise nf familier (somme restant à payer)account n (informal, figurative)slate n (informal)tab n « Je n'ai pas d'argent sur moi. Mets ça sur mon ardoise, Roger ! » "I haven't got any cash on me. Put it on my slate, Roger!"Traductions supplémentairesFrançaisAnglaisardoise adj inv (gris foncé) (UK)slate-grey adj (US)slate-gray adj Hier, Suzie portait une robe ardoise. Yesterday, Suzie was wearing a slate-grey dress.WordReference English-French Dictionary © 2025:Principales traductionsFrançaisAnglaisardoiser⇒ vtr (couvrir d'ardoises) (roofing)tile [sth] with slate, cover [sth] with slate v expr (roofing)slate⇒ vtr On ardoisait les toits dans la région d'Allassac.WordReference English-French Dictionary © 2025:Formes composéesardoise | ardoiserFrançaisAnglaisgris ardoise adj inv (nuance de gris) (UK)slate grey adj (US)slate gray adj 'ardoise' également trouvé dans ces entrées :Dans la description française :Anglais :

A humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context. Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions. Audace, between geometry and shapes inspired by natureA straightforward sanserif in 20 fonts, 4 widths Ardoise met the needs of publications. By extension, it met the needs of a newpapers typeface featuring a low contrast, straightforward forms, as Franklin Gothic. The verticals metrics and proportions of Ardoise are calibrated to match perfectly others Typofonderie families. Four widths to answer all situations Ardoise, inspired by the needs of today’s fine newspapers offers simple and tense shapes designed to renew and

Revitalize. Ardoise could be considered as an homage to Antique Olive, but quite indirectly and as an organic result of the designer’s longstanding admiration of the work of Roger Excoffon. Ardoise shares a purity and dynamics with Excoffon’s designs giving it a unique elegance and excellent readability. Its sturdiness means it is virtually immune it to distortion. In addition, a few alternates glyphs (a, c, g) can be used to alter the overall tone of a text setting.Teimer Std by Suitcase Type Foundry, $75.00Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005